text:
/*
	var vid = new Whammy.Video();
	vid.add(canvas or data url)
	vid.compile()
*/

var Whammy = (function(){
	// in this case, frames has a very specific meaning, which will be
	// detailed once i finish writing the code

	function toWebM(frames, outputAsArray){
		var info = checkFrames(frames);

		//max duration by cluster in milliseconds
		var CLUSTER_MAX_DURATION = 30000;

		var EBML = [
			{
				"id": 0x1a45dfa3, // EBML
				"data": [
					{
						"data": 1,
						"id": 0x4286 // EBMLVersion
					},
					{
						"data": 1,
						"id": 0x42f7 // EBMLReadVersion
					},
					{
						"data": 4,
						"id": 0x42f2 // EBMLMaxIDLength
					},
					{
						"data": 8,
						"id": 0x42f3 // EBMLMaxSizeLength
					},
					{
						"data": "webm",
						"id": 0x4282 // DocType
					},
					{
						"data": 2,
						"id": 0x4287 // DocTypeVersion
					},
					{
						"data": 2,
						"id": 0x4285 // DocTypeReadVersion
					}
				]
			},
			{
				"id": 0x18538067, // Segment
				"data": [
					{
						"id": 0x1549a966, // Info
						"data": [
							{
								"data": 1e6, //do things in millisecs (num of nanosecs for duration scale)
								"id": 0x2ad7b1 // TimecodeScale
							},
							{
								"data": "whammy",
								"id": 0x4d80 // MuxingApp
							},
							{
								"data": "whammy",
								"id": 0x5741 // WritingApp
							},
							{
								"data": doubleToString(info.duration),
								"id": 0x4489 // Duration
							}
						]
					},
					{
						"id": 0x1654ae6b, // Tracks
						"data": [
							{
								"id": 0xae, // TrackEntry
								"data": [
									{
										"data": 1,
										"id": 0xd7 // TrackNumber
									},
									{
										"data": 1,
										"id": 0x63c5 // TrackUID
									},
									{
										"data": 0,
										"id": 0x9c // FlagLacing
									},
									{
										"data": "und",
										"id": 0x22b59c // Language
									},
									{
										"data": "V_VP8",
										"id": 0x86 // CodecID
									},
									{
										"data": "VP8",
										"id": 0x258688 // CodecName
									},
									{
										"data": 1,
										"id": 0x83 // TrackType
									},
									{
										"id": 0xe0,  // Video
										"data": [
											{
												"data": info.width,
												"id": 0xb0 // PixelWidth
											},
											{
												"data": info.height,
												"id": 0xba // PixelHeight
											}
										]
									}
								]
							}
						]
					},

					//cluster insertion point
				]
			}
		 ];

		//Generate clusters (max duration)
		var frameNumber = 0;
		var clusterTimecode = 0;
		while(frameNumber < frames.length){

			var clusterFrames = [];
			var clusterDuration = 0;
			do {
				clusterFrames.push(frames[frameNumber]);
				clusterDuration += frames[frameNumber].duration;
				frameNumber++;
			}while(frameNumber < frames.length && clusterDuration < CLUSTER_MAX_DURATION);

			var clusterCounter = 0;
			var cluster = {
					"id": 0x1f43b675, // Cluster
					"data": [
						{
							"data": clusterTimecode,
							"id": 0xe7 // Timecode
						}
					].concat(clusterFrames.map(function(webp){
						var block = makeSimpleBlock({
							discardable: 0,
							frame: webp.data.slice(4),
							invisible: 0,
							keyframe: 1,
							lacing: 0,
							trackNum: 1,
							timecode: Math.round(clusterCounter)
						});
						clusterCounter += webp.duration;
						return {
							data: block,
							id: 0xa3
						};
					}))
				}

			//Add cluster to segment
			EBML[1].data.push(cluster);
			clusterTimecode += clusterDuration;
		}

		return generateEBML(EBML, outputAsArray)
	}

	// sums the lengths of all the frames and gets the duration, woo

	function checkFrames(frames){
		var width = frames[0].width,
			height = frames[0].height,
			duration = frames[0].duration;
		for(var i = 1; i < frames.length; i++){
			if(frames[i].width != width) throw "Frame " + (i + 1) + " has a different width";
			if(frames[i].height != height) throw "Frame " + (i + 1) + " has a different height";
			if(frames[i].duration < 0 || frames[i].duration > 0x7fff) throw "Frame " + (i + 1) + " has a weird duration (must be between 0 and 32767)";
			duration += frames[i].duration;
		}
		return {
			duration: duration,
			width: width,
			height: height
		};
	}

	function numToBuffer(num){
		var parts = [];
		while(num > 0){
			parts.push(num & 0xff)
			num = num >> 8
		}
		return new Uint8Array(parts.reverse());
	}

	function strToBuffer(str){
		// return new Blob([str]);

		var arr = new Uint8Array(str.length);
		for(var i = 0; i < str.length; i++){
			arr[i] = str.charCodeAt(i)
		}
		return arr;
		// this is slower
		// return new Uint8Array(str.split('').map(function(e){
		// 	return e.charCodeAt(0)
		// }))
	}

	//sorry this is ugly, and sort of hard to understand exactly why this was done
	// at all really, but the reason is that there's some code below that i dont really
	// feel like understanding, and this is easier than using my brain.

	function bitsToBuffer(bits){
		var data = [];
		var pad = (bits.length % 8) ? (new Array(1 + 8 - (bits.length % 8))).join('0') : '';
		bits = pad + bits;
		for(var i = 0; i < bits.length; i+= 8){
			data.push(parseInt(bits.substr(i,8),2))
		}
		return new Uint8Array(data);
	}

	function generateEBML(json, outputAsArray){
		var ebml = [];
		for(var i = 0; i < json.length; i++){
			var data = json[i].data;
			if(typeof data == 'object') data = generateEBML(data, outputAsArray);
			if(typeof data == 'number') data = bitsToBuffer(data.toString(2));
			if(typeof data == 'string') data = strToBuffer(data);

			if(data.length){
				var z = z;
			}

			var len = data.size || data.byteLength || data.length;
			var zeroes = Math.ceil(Math.ceil(Math.log(len)/Math.log(2))/8);
			var size_str = len.toString(2);
			var padded = (new Array((zeroes * 7 + 7 + 1) - size_str.length)).join('0') + size_str;
			var size = (new Array(zeroes)).join('0') + '1' + padded;

			//i actually dont quite understand what went on up there, so I'm not really
			//going to fix this, i'm probably just going to write some hacky thing which
			//converts that string into a buffer-esque thing

			ebml.push(numToBuffer(json[i].id));
			ebml.push(bitsToBuffer(size));
			ebml.push(data)

		}

		//output as blob or byteArray
		if(outputAsArray){
			//convert ebml to an array
			var buffer = toFlatArray(ebml)
			return new Uint8Array(buffer);
		}else{
			return new Blob(ebml, {type: "video/webm"});
		}
	}

	function toFlatArray(arr, outBuffer){
		if(outBuffer == null){
			outBuffer = [];
		}
		for(var i = 0; i < arr.length; i++){
			if(typeof arr[i] == 'object'){
				//an array
				toFlatArray(arr[i], outBuffer)
			}else{
				//a simple element
				outBuffer.push(arr[i]);
			}
		}
		return outBuffer;
	}

	//OKAY, so the following two functions are the string-based old stuff, the reason they're
	//still sort of in here, is that they're actually faster than the new blob stuff because
	//getAsFile isn't widely implemented, or at least, it doesn't work in chrome, which is the
	// only browser which supports get as webp

	//Converting between a string of 0010101001's and binary back and forth is probably inefficient
	//TODO: get rid of this function
	function toBinStr_old(bits){
		var data = '';
		var pad = (bits.length % 8) ? (new Array(1 + 8 - (bits.length % 8))).join('0') : '';
		bits = pad + bits;
		for(var i = 0; i < bits.length; i+= 8){
			data += String.fromCharCode(parseInt(bits.substr(i,8),2))
		}
		return data;
	}

	function generateEBML_old(json){
		var ebml = '';
		for(var i = 0; i < json.length; i++){
			var data = json[i].data;
			if(typeof data == 'object') data = generateEBML_old(data);
			if(typeof data == 'number') data = toBinStr_old(data.toString(2));

			var len = data.length;
			var zeroes = Math.ceil(Math.ceil(Math.log(len)/Math.log(2))/8);
			var size_str = len.toString(2);
			var padded = (new Array((zeroes * 7 + 7 + 1) - size_str.length)).join('0') + size_str;
			var size = (new Array(zeroes)).join('0') + '1' + padded;

			ebml += toBinStr_old(json[i].id.toString(2)) + toBinStr_old(size) + data;

		}
		return ebml;
	}

	//woot, a function that's actually written for this project!
	//this parses some json markup and makes it into that binary magic
	//which can then get shoved into the matroska comtainer (peaceably)

	function makeSimpleBlock(data){
		var flags = 0;
		if (data.keyframe) flags |= 128;
		if (data.invisible) flags |= 8;
		if (data.lacing) flags |= (data.lacing << 1);
		if (data.discardable) flags |= 1;
		if (data.trackNum > 127) {
			throw "TrackNumber > 127 not supported";
		}
		var out = [data.trackNum | 0x80, data.timecode >> 8, data.timecode & 0xff, flags].map(function(e){
			return String.fromCharCode(e)
		}).join('') + data.frame;

		return out;
	}

	// here's something else taken verbatim from weppy, awesome rite?

	function parseWebP(riff){
		var VP8 = riff.RIFF[0].WEBP[0];

		var frame_start = VP8.indexOf('\x9d\x01\x2a'); //A VP8 keyframe starts with the 0x9d012a header
		for(var i = 0, c = []; i < 4; i++) c[i] = VP8.charCodeAt(frame_start + 3 + i);

		var width, horizontal_scale, height, vertical_scale, tmp;

		//the code below is literally copied verbatim from the bitstream spec
		tmp = (c[1] << 8) | c[0];
		width = tmp & 0x3FFF;
		horizontal_scale = tmp >> 14;
		tmp = (c[3] << 8) | c[2];
		height = tmp & 0x3FFF;
		vertical_scale = tmp >> 14;
		return {
			width: width,
			height: height,
			data: VP8,
			riff: riff
		}
	}

	// i think i'm going off on a riff by pretending this is some known
	// idiom which i'm making a casual and brilliant pun about, but since
	// i can't find anything on google which conforms to this idiomatic
	// usage, I'm assuming this is just a consequence of some psychotic
	// break which makes me make up puns. well, enough riff-raff (aha a
	// rescue of sorts), this function was ripped wholesale from weppy

	function parseRIFF(string){
		var offset = 0;
		var chunks = {};

		while (offset < string.length) {
			var id = string.substr(offset, 4);
			var len = parseInt(string.substr(offset + 4, 4).split('').map(function(i){
				var unpadded = i.charCodeAt(0).toString(2);
				return (new Array(8 - unpadded.length + 1)).join('0') + unpadded
			}).join(''),2);
			var data = string.substr(offset + 4 + 4, len);
			offset += 4 + 4 + len;
			chunks[id] = chunks[id] || [];

			if (id == 'RIFF' || id == 'LIST') {
				chunks[id].push(parseRIFF(data));
			} else {
				chunks[id].push(data);
			}
		}
		return chunks;
	}

	// here's a little utility function that acts as a utility for other functions
	// basically, the only purpose is for encoding "Duration", which is encoded as
	// a double (considerably more difficult to encode than an integer)
	function doubleToString(num){
		return [].slice.call(
			new Uint8Array(
				(
					new Float64Array([num]) //create a float64 array
				).buffer) //extract the array buffer
			, 0) // convert the Uint8Array into a regular array
			.map(function(e){ //since it's a regular array, we can now use map
				return String.fromCharCode(e) // encode all the bytes individually
			})
			.reverse() //correct the byte endianness (assume it's little endian for now)
			.join('') // join the bytes in holy matrimony as a string
	}

	function WhammyVideo(speed, quality){ // a more abstract-ish API
		this.frames = [];
		this.duration = 1000 / speed;
		this.quality = quality || 0.8;
	}

	WhammyVideo.prototype.add = function(frame, duration){
		if(typeof duration != 'undefined' && this.duration) throw "you can't pass a duration if the fps is set";
		if(typeof duration == 'undefined' && !this.duration) throw "if you don't have the fps set, you ned to have durations here."
		if('canvas' in frame){ //CanvasRenderingContext2D
			frame = frame.canvas;
		}
		if('toDataURL' in frame){
			frame = frame.toDataURL('image/webp', this.quality)
		}else if(typeof frame != "string"){
			throw "frame must be a a HTMLCanvasElement, a CanvasRenderingContext2D or a DataURI formatted string"
		}
		if (!(/^data:image\/webp;base64,/ig).test(frame)) {
			throw "Input must be formatted properly as a base64 encoded DataURI of type image/webp";
		}
		this.frames.push({
			image: frame,
			duration: duration || this.duration
		})
	}

	WhammyVideo.prototype.compile = function(outputAsArray){
		return new toWebM(this.frames.map(function(frame){
			var webp = parseWebP(parseRIFF(atob(frame.image.slice(23))));
			webp.duration = frame.duration;
			return webp;
		}), outputAsArray)
	}

	return {
		Video: WhammyVideo,
		fromImageArray: function(images, fps, outputAsArray){
			return toWebM(images.map(function(image){
				var webp = parseWebP(parseRIFF(atob(image.slice(23))))
				webp.duration = 1000 / fps;
				return webp;
			}), outputAsArray)
		},
		toWebM: toWebM
		// expose methods of madness
	}
})()

redpajama_set_name: RedPajamaGithub


text:
By Tage Kene-Okafor August 13, 2020 in Africa, Entrepreneurship, Founders, Interviews, Main, Silicon Valley
The Ghanaian Entrepreneur Who Has Built Two YC-Backed Startups in Five Years: A Discussion with Jesse Ghansah
This article was written by Tage Kene-Okafor and was originally published on African based publication Techpoint.africa
In 2012, Jesse Ghansah, Prince Boakye Boampong, and Dominic Mensah began trying their hands on a new project, OMG Ghana. Three years later, the project would become a media startup, OMG Digital.
At the time, the Ghanaian startup was dubbed the "BuzzFeed of Africa" and as a founder, Ghansah co-led his team into Y Combinator (YC), participating in the accelerator with the likes of Envyl, Flutterwave, Instabug, and Paystack in 2016.
Up until 2019, Ghansah remained at OMG Digital but he has now turned his focus to Swipe Technologies, his new startup. Interestingly, the startup also made it into the YC, this time in its Winter 2020 batch.
Ghansah is one of a handful of entrepreneurs to make it into the San Francisco-based accelerator more than once. In this interview, he shares his journey so far, lessons learned, and how it feels to have started two YC-backed companies in less than five years.
I understand that you studied biochemistry at the university. Do you still practice?
To be honest, no. When I finished studying biochemistry at the Kwame Nkrumah University of Science and Technology (KNUST), I worked at a research lab as I was doing studies on wound healing in rats. I did that for a couple of months until I realized it wasn't really for me.
I left the lab to focus on my startup full-time. But I still read a little about biochemistry and I try to keep abreast of developments especially with the new clustered regularly interspaced short palindromic repeats (CRISPR) technology in the genome and gene-editing space.
How did you make the transition into tech?
Back in college, I was doing a lot of business; I used to sell electronics, mostly mobile phones and laptops. I aggregated the sellers, tried to get some commission from them, and then built a website called Swipe Commerce in the process.
While running the business in 2013, my customers made a huge request: they wanted a way to pay in monthly installments, so I tried to build that. Imagine trying to build a startup like that in 2013 when the African payment space hadn't matured. So I was doing payments, eCommerce, and credit scoring in one startup. I remember trying to raise money from some angel friends who thought I was insane because I was doing three difficult things.
That was when I teamed up with my OMG Digital co-founders. OMG started in 2012 as a blog and we wanted to turn it into a media company. Since I wasn't getting any traction with Swipe, I decided to focus on OMG and work on it. That was how I sort of jumped into tech full-time.
So tell me, how did you get the idea for OMG Digital?
OMG started as a way to create and publish relatable content. At the time the Internet and social media were picking up and exploding, most of the publishers online were the traditional publishers. Consequently, there weren't too many engaging platforms with content for millennials.
We were very familiar with the likes of BuzzFeed in the US and other social publishers so we decided to create something like that. It picked up quite well and at its peak, OMG Ghana was doing about 800,000 unique views per month.
At the time, we were building other things on the side, but it got to a point when it was only OMG that had enough traction and made revenue. So we decided to pursue that full-time and try to build a media conglomerate across the continent.
What problems did you encounter trying to build this conglomerate?
OMGVoice was one of OMG's sub-brands, but we had other high-focused sub-brands for millennials in different content categories: pop culture, entertainment, travel, and food.
Unfortunately, the media landscape has been tough in the past few years. It's been incredibly hard trying to monetize because most of the advertising budgets still go to traditional media, while most of the digital ad budgets are on Facebook and Google, leaving others to share the rest.
This made it a bit harder than we imagined, but in terms of reach or views, it was pretty straightforward because people in Africa love content. Though OMG is running only on revenue, it is going steady and doing well.
Just a year after launch, OMG Digital got accepted into Y Combinator. What was your experience like?
We were the first Ghanian company to get into YC and among the first five African companies; it was very exciting for us.
The whole YC experience was life-changing because, at that time, we were struggling to grow the company and needed resources because we had maxed out on what we could do as individuals.
We looked at YC because it was incredibly hard to raise money in Ghana. If you guys think raising money in Nigeria is hard, you should come to Ghana.
To be honest, with the exception of Meltwater Entrepreneurial School of Technology (MEST), I can't give a list of angel investors or VC firms that have given cheques to companies. We applied four times before eventually getting into YC. And being a part of the accelerator allowed us to get initial funding to take OMG to the next level.
How would you describe your journey with OMG Digital?
I think one of my biggest learning opportunities was at OMG. I learned a lot about building companies, raising money, growing a team, dealing with the ups and downs of running a startup, hiring and firing, dealing with co-founder exits, trying to keep a company alive, and trying to go through an acquisition process.
I learned so much from those experiences and they're helping me run Swipe Technologies, my new company.
Mentioning co-founder exits and acquisition, was OMG Digital struggling at some point?
We struggled around 2018. That was when the media space was in a recession and a company like Mic was valued at $160m and got sold for $5m; also, Mashable was sold for $50m after a previous valuation of $250m. So it was a tough period and I remember it was almost impossible trying to raise our Series A.
We had to change the fundamentals of the business, restructure the team, and let a lot of people go. Though it was a pretty tough period for the company, we were able to survive, but it was a very painful experience.
It was a little bittersweet for me because if I didn't go through that OMG experience, Swipe wouldn't exist today.
In 2018 when we ran out of funding we were running on revenue. The issue with that was we dealt with big brands and agencies, most of which had long payment terms. That put a ton of pressure on our cash flow. I remember how we took personal loans, even from loan sharks at 20% a week, to meet payroll.
After dealing with that for two years, I thought there had to be an easier way for businesses or startups to get working capital in the form of credit and cash advances, and that's what spurred me on to work on Swipe.
So I started Swipe as an invoice factoring company essentially giving companies cash advances. I started that with my network in digital agencies and after it picked up, I thought there must be a way for us to scale and make it accessible to a lot of small businesses across the continent.
You mentioned Swipe Commerce earlier. Is Swipe Technologies a revisit of the previous company?
In some ways, yes. I had done a lot of thinking about credit scoring but it was more on the consumer side so I had to rethink it from first principles in the context of businesses. But I wouldn't lean too much on my Swipe Commerce experience because it was long ago, in 2013, and a lot of things have changed in the credit space in Africa.
I understand that Swipe has not fully launched. So, how did the startup manage to get into YC?
There are various types of launches. Sometimes people think when you launch it means you're life, but you can have beta launches and limited release launches among others.
We've launched with a few pilot customers and we had some proof points to show YC that Swipe had potential.
Also, YC already trusted me as a founder. The only things they weren't sure about were my readiness to jump into Swipe having just left OMG Digital, and my conviction to pursue Swipe. They also wanted to be sure I was ready in terms of fundraising because Swipe is a fintech lending platform that needs to consistently raise a lot of money. They wanted to know if I was ready to do all that and I proved I was ready.
In less than five years, you've co-founded two YC-backed startups. Do you feel any pressure to succeed with Swipe?
Well, not really. However, I think the pressure for me is that I want to build this company because I believe in the vision and I think we're solving a big problem for companies across the continent.
I understand that founding a YC company comes with pressure because everyone is looking at you and it's perceived that these companies have all the opportunities and access, whether in raising money or connections. The bar is a bit higher for YC startups as compared to others, but after going through this twice I don't think I feel any pressure because people don't care that much.
And if you're building your company to impress people, you're probably wasting your time and doing yourself a huge disservice. Right now, I'm building Swipe for myself, my team, and also to solve a very big problem I faced in my previous company.
Seeing you've played in the media and fintech, what other market segments would you love to try your hands on?
To be honest, we're building Swipe for the long-term so unless we exit, I see myself working on Swipe for a very long time. If that happens, I'll probably go back to building something in the consumer space as I'm still passionate about consumer media and entertainment though my experiences in that space weren't the best. It is one of the hardest sectors you can operate in these days.
Fintech is way easier and more straightforward because you're providing 'x' value and making money off a transaction fee. It's different for media. Look at the likes of Jason who has been super creative with iROKO. He has done almost everything he can and pulled so many rabbits out of his hats but the market is still bad because we're not just there in terms of monetising in media.
Asides consumer media, I'll probably go back to do something in biotechnology. Something that has to do with AI and biotech. In the past year, I enrolled in Lambda School to improve my knowledge of machine learning and AI so I'd probably do something in that space as well.
Thanks for showing love and reading our content. As a wholly independent and bootstrapped company, we rely upon on our community and readers. If you want to support POCIT go here to our Patreon
Michael Berhane, Founder of POCIT
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redpajama_set_name: RedPajamaCommonCrawl


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Showing up as a yellow circle, a shape's Control Point enables you to effectively control that shape to give it another look. For instance, you can change the point of view of a chamber, reposition the tip of a cone, or move the nose of a callout. Control Points likewise work with connector message so you can rapidly drag unmistakable dialect to the most proper spot.
Effortlessly alter shapes and content utilizing natural Control Points.
We've likewise added the capacity to print your graph straightforwardly from inside your program.
Fare or print your outlines specifically from inside Visio Online.


text:
Q: PDO SELECT WHERE not working I am trying to execute the following statements:
$statement = $database->prepare("SELECT userID FROM user_sessions WHERE sessionID = ?");
$statement->execute(array($sessionID));

However, they fail to return the userID ($statement->rowCount() returns 0). If I modify the statements like this, it works but becomes vulnerable to SQL Injection.
$statement = $database->prepare("SELECT userID FROM user_sessions WHERE sessionID = '$sessionID'");
$statement->execute();

sessionID is a hash generated from PHP password_hash() function and is obtained via PHP $_GET.
Why don't the first two statements work and how can I correct them?
UPDATE:
This is what I have discovered so far:
print_r($sessionID) outputs
$2y$10$YW2.87KPO2FqFxZD9jjH7ulmPXR2Mdy7Q2c\/RXjSJjH2yt.Q37aQS

var_export($sessionID) outputs
'$2y$10$YW2.87KPO2FqFxZD9jjH7ulmPXR2Mdy7Q2c\\/RXjSJjH2yt.Q37aQS'

The original $sessionID (value in database) is
$2y$10$YW2.87KPO2FqFxZD9jjH7ulmPXR2Mdy7Q2c/RXjSJjH2yt.Q37aQS

A: I've sorted out the problem. The function I was using to URL encode my sessionID automatically added a backslash before any forward slash. Hence, parameterised PDO statement failed. Somehow, the non-parameterised statement processes the backward slash (thus it escapes the meaning of the forward slash only) and the sessionID now becomes the same as the original sessionID.

redpajama_set_name: RedPajamaStackExchange


Aged in Bourbon barrels, The Real McCoy rum includes 3-year-old, 5-year-old and 12-year-old expressions.
Oscar Wilde once wrote, "Life imitates art far more than art imitates life," but sometimes both can be true of the same situation. Inspired by real-life Prohibition-era rum-runner Bill McCoy, filmmaker Bailey Pryor launched The Real McCoy rum in 2013—the same year he won five Emmy Awards for the documentary he wrote and directed about Bill McCoy. During the making of the movie, Pryor decided to create a rum like the one McCoy smuggled from the Caribbean to New York in the 1920s. While many other bootleggers diluted their alcohol with turpentine or prune juice, McCoy's rum, gin and whiskey were pure and uncut, earning them the moniker "The Real McCoy." Likewise, Pryor teamed up with Richard Seale, a fourth-generation master distiller at the family-owned Foursquare Distillery in Barbados, to develop a small-batch artisanal rum. "He agreed to make the same style of rum that was produced in Barbados during Prohibition," Pryor says.
Distilled in both column and pot stills and aged in Bourbon barrels, The Real McCoy features no added sugars, flavors or perfumes. The rum is available in three expressions: the 3-year-old ($19.99 a 750-ml. bottle), which is charcoal-filtered and ideal for mixed drinks; the flagship 5-year-old ($28.99), a dry-style rum for sipping neat or mixing in premium cocktails; and the 12-year-old ($49.99), best served neat or on the rocks. Distributed in 15 states and Washington, D.C., by Southern Glazer's Wine & Spirits, The Real McCoy rum sold 7,500 cases in 2015, and Pryor aims to reach 10,000 cases this year. "We're focusing on market permeation and repurchase," he says, noting that on-premise activation with bartenders is also important. The brand—which has more than 63,000 Facebook followers, as well as Twitter and Instagram pages—recently wrapped up "The Search for The Real McCoy Photo Sweepstakes" for consumers and its cocktail competition, "The Search for The Real McCoy," in partnership with the United States Bartenders' Guild. Pryor is also planning a rollout of new packaging in 2017.
Combine rum, simple syrup, lime juice and bitters in a shaker and shake vigorously. Pour into an ice-filled rocks glass and garnish with salt and a lime wedge.
1Combine ½ cup water, ½ cup raw sugar and 2 tablespoons coarse-chopped fresh ginger in a pan. Heat to dissolve sugar and then cool and strain.
Shake rum, vermouth, honey syrup and orange juice with ice and strain into a chilled coupe glass. Top with sparkling wine and garnish with an orange peel and a maraschino cherry.


This module will provide students with a comprehensive introduction to decadence and early modernism. Beginning with the French Decadence of the Second Empire and moving through into British Aestheticism, classic writers of the fin de siècle (such as Pater and Wilde) before finishing with the emergence of Modernism in Britain and America, this subject will introduce students to a range of canonical and forgotten texts, and films. Students should expect to cover such issues as Hellenism; Decadent reconceptions of time and 'the moment', and how this influenced the Bloomsbury group; parodies and rejections of Decadence; Decadent conceptions of landscape; the flaneur; Decadent Gothic; Decadence in America; Decadence in the little magazines; The New Woman; Aestheticist interior design and collecting; deviant sexualities; stylistic exemplifications of Decadence; Decadence on film.


text:
by Anthony Puentes
Inspired by Sacred Spaces, the exhibition held in the Rubin Museum of Art NYC, which explores the soundscapes of the Himalayas including their winds as well as the soundscapes of the most high located buddhist monasteries, I decided to take further the concept presented by the exhibition and explore a few sound concepts that are shown in the world today. As a manner of execution I am also including the concept of sampling. The reason is that thanks to the advancement of sampling technology, we can experience the perception of this sounds without leaving home. In this journey we will explore not only what this particular exhibition offers, but also how the world sounds and how the people of the world transmits music. During my visit I did some sampling myself in order to capture the sounds presented in the exhibition to share with you.
I am going to divide this study in 4 parts. The first part is going to include a review of the exhibition with sampled sounds of all the recordings shown there. Secondly, we will explore the sacred sounds of the world. This is going to be in relation to people around the world, how they project music in a perspective considered by them as sacred. Next we will explore culture expression through music by quickly analyzing how people make music around the world. Lastly, we will explore 4 natural soundscapes of the world, fascinating samples recorded in remote parts of earth. Note that every single audio, nor picture I'm sharing was not downloaded from the internet. They belong in part to sound libraries set for Kontakt, a virtual instrument that executes sampled material. These samples were rearranged, mixed and mastered by me, for the purpose of this study. So, I invite you to…
Not too much to see on the forth floor of the Rubin Museum, but a lot to sense. There are 4 different spaces that offers these recordings in order to sense them differently. The first one is a hallway with 2 screens projecting holograms. They have seats and headphones for people to sit, listen and watch while entering in a estate of meditation. At one end of the hallway there are 3 turntables with headphones for people to listen the recordings in vinyl.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Headphones-1.mp3
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Vinyl.mp3
The next room is a the shrine room. This space was conditioned with elements of a buddhist prayer room. The sounds played there are the monastery sounds recorded in the Himalayas. The experience is interesting knowing that by only listening I felt cold. Maybe the sound makes that effect but it surely drives the senses to explore something different.
THE SHRINE ROOM
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Shrine-Room.mp3
The most important part of the exhibition is a sound room conditioned and structured to play the sound recordings with sound proof capabilities. It offers 2 tower speakers one at each end and in between there are several studio monitors side by side playing the wind sounds. The main speakers play the soundscapes focused on closed spaces whereas the studio monitors play the open soundscapes environment.
Front speaker
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Front-Speaker.mp3
back speaker
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Back-Speaker.mp3
side monitors
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Wind-Monitor.mp3
I managed to collect high quality samples from these devices thanks to my Zoom H6 Recorder which offers top professional quality sampling. This last sample of the exhibition was recorded while I walk thru the room side by side.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Walking.mp3
Although the exhibition name is Sacred Spaces, the soundscapes recordings relate more to open spaces rather than sacred places, that is why I think the title is not completely accurate and its more relating to religious disciplines such as meditation or yoga. On the bottom floors of the museum there are exhibitions with more visual content focusing more on the sacred aspects of these asian cultures.
HOW PEOPLE WORSHIP
The world is a fascinating venue full of color and variety. People around it have different beliefs, credos and rituals. However, the all have one thing in common and that is music. This is an important element for every human being because it's a way of expression. There are different religious practices and there are different sacred sounds. In this section, we will explore some of the sacred sounds around the world. How people sing or chant their sacred music in order to worship what they considered divine.
First of, in North America, the Native Americans chant their war and tribal chants. The following audio was sampled from an original Native chant in the United States.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Native-American.mp3
Moving next to South America, more exactly Peru, a Quechua song worshiping Pachamama of the goddess Earth. The accompaniment is not part of the traditional ritual, but is was adapted in modern rituals.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Quechua.mp3
Heading East to Europe we can find the Gregorian Chants and the Mystic Songs of the Roman Catholic Church.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Gregorian-Chants.mp3 https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Catholic-Women.mp3
Moving South to Africa, the Protestant Church reaches several parts of the continent, forming choirs of worship to Jesus.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/African-Choirs.mp3
In Malawi Africa a traditional tribal chant sang by a girl.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Malawian.mp3
Moving to the Middle East an Israeli woman sings a traditional Jewish Psalm.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Israel.mp3
We will end this sacred journey with a sacred mantra.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Indian.mp3
HOW PEOPLE SING
Our next journey explores how people sing around the world. Popular music differs in cultures according to customs and languages. It is amazing how music sounds different as we move from place to place, maintaining and interest and admiration. All the music around the world is wonderful.
Let's begin at the Caribbean with a Jamaican reggae. This excerpt contains the first half with only vocals and the rest with the accompaniment. Please focus on the vocal interpretation since this study is focused on vocal interpretation and soundscapes.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Jamaica.mp3
Moving to the Alps in Europe where the Swedish Yodel their famous folk music.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Alpine-Jodeling.mp3
In Bulgaria a traditional folk song.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Bulgarian.mp3
A beautiful traditional Ukrainian waltz.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Ukranian.mp3
In North Africa, Algerian hip hop artist and rapper sings a popular Algerian hiphop song.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Algerian.mp3
Moving South to Cameroon a popular song with a Bossa feeling.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Cameroon.mp3
In Guinea, a traditional song.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Guinean.mp3
Moving to Asia, a Turkish chant.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Turkish.mp3
More to the Middle East, an Irani chant.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Irani.mp3
At the Northside of Far East Asia, a Mongolian quintet performs a traditional piece with drones and vocal percussive effects.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Mongolian.mp3
Moving South to China a duet performs a traditional piece.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Chinese.mp3
Southwest China, a Balinese traditional song performed by Philippine singer.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Balinese.mp3
HOW THE WORLD SOUNDS
This was a journey of sound and music exploration focusing on the soundscapes from places considered sacred. Then there was an analysis on how people uses music to practice religion and worship, ending on an exploration of traditional and popular music in around the world. Now we will end exploring 4 different soundscapes that are almost impossible to reach. Welcome to Geosonics. Geosonics is a sample library developed by English company Soniccouture. This library offers a huge library of samples recorded by one of the world's leading recorders of wildlife and nature, Chris Watson. The first soundscape is ice and water. This particular example was recorded in the Icelandic glaciers south the North Pole.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Ice.mp3
Secondly, we will move north to the North Pole to catch the sounds of the polar winds.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Wind.mp3
In contrast with the freezing weather, this next soundscape was sampled in the humid swamps of Africa. The notorious sound in this example are the African frogs.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Swamp.mp3
Finally, in the dangerous Australian Outback there is a system of wires of interconnection, This example shows how the wind hitting these wires make a particular sound.
https://msh334spring2017.commons.gc.cuny.edu/files/2017/05/Wire.mp3
Janette Tilley says:
This exhibit at the Rubin appears to be a great example of how sound is increasingly regarded as an important part of an experience, equal to the visual. Of course, that hasn't always been the case, and the work of soundscape artists has certainly helped make us aware of the sounds, just as much as the sights in any environment! This is a wonderfully media-rich presentation and personal reflection on this art.
What I'm also struck by is the potential employment opportunities for sound artists and "curators", akin to what art historians do in museums today, making selections for visitors that invite exploration and new insights into some realm of the visual arts. It seems that with technology, we are permitting sounds into that space, and I would think there will more opportunities for musicians to work as curators of the audio experience in a similar way.
Thanks for sharing this with us!
Anthony Puentes says:
That is an interesting observation, and yes I agree, it is necessary to include sound as part of history and science not only to study its functions but also to interpret what it says.


text:
Q: How do I change screen resolution automatically when computer starts up? I am using following command to change my screen resolution:
xrandr --newmode "1368x768_60.00"   85.25  1368 1440 1576 1784  768 771 781 798 -hsync +vsync
xrandr --addmode VGA1 1368x768_60.00
xrandr --output VGA1 --mode 1368x768_60.00

Now, which file do I need to edit so it will modify my screen resolution when I start up my Ubuntu PC?
NOTE: editing .xprofile isn't ideal since it's only per-user, not system-wide, and GDM/KDM doesn't existed on a vanilla 11.10 install, nor does xorg.conf

A: You can use a GUI frontend to Xrandr, for example ARandR.
ARandR is designed to provide a simple visual front end for XRandR. Relative monitor positions are shown graphically and can be changed in a drag-and-drop way.

To install it in Ubuntu:
sudo apt-get install arandr

Now your configuration will be stored and loaded within the startup

A: The https://wiki.ubuntu.com/X/Config/Resolution :

There are several ways to make xrandr customizations permanent from
  session to session: a) .xprofile, b) kdm/gdm, c) xorg.conf.


AJ Hackett Bungy, the countries leading tourism adventure company, invites you to hurl yourself off the tallest building in New Zealand!
At 192 metres, Auckland's iconic Sky Tower gives you the highest jump and the only base jump by wire in New Zealand.
Our jump masters will take you safely to the edge of the tower where you'll get a moment to take in Auckland's incredible scenery before letting go and plummeting at 85km towards the city streets below.
WARNING: Not for the faint hearted – This is a totally unforgettable experience for true adrenaline junkies and daredevils!
Price Includes: Getting to the top of the Sky Tower. As a bonus we give you a free ticket to go back up the Sky Tower after your SkyJump/SkyWalk. It can be used once anytime during the same day, so you may want to go up at sunset or after dark for a different perspective.
Child Age (10 to 15 years).
This jump is a must. I'm over 50 and found it easy on the aching body. I think it's a bit expensive but you can't get this type of thing just anywhere. The first two seconds is the hardest and the freefall is braked so you don't hit terminal velocity. They supply a Gopro which is nice.
Friendly staff and amazing experience.
Sky Jump was really enjoyable, staff were all really friendly talked you through everything etc to get you set up. Good views out over Auckland city from the top of tower and jump itself is a few seconds of fun!
The staff were wonderful but the jump wasn't as big a rush as I thought it would be. I felt as if I was really slowed down immediately after the initial jump and it was more like abseiling with out holding onto the rope. Not value for $. Nice views from the top though :) Did the sling shot a few day later and it was much better value and more exciting.
Your message has been sent to AJ Hackett Bungy - SkyJump. You should hear from them shortly.
Please note: all responses will come directly from AJ Hackett Bungy - SkyJump, and not the team at Bookme.


text:
ISIS claims it has confiscated US military equipment in Afghanistan
By Khaama Press / in Afghanistan / on Sunday, 07 Aug 2016 09:40 AM / 0 Comment / 220 views
The loyalists of the Islamic State of Iraq and Syria (ISIS) terrorist group have claimed they have confiscated several military equipment belonging to a US soldier.
The sympathizers of the terror group released several photographs which purportedly shows the confiscated military equipment along with an ID card of a US soldier.
The service member whose ID card and equipment captured by ISIS loyalists has been identified as Rayan Jay Larson.
The sympathizers of the terror group claimed that the equipment was seized after repelling a joint raid by the Afghan and US forces in Nangarhar province.
This comes as the coalition officials confirmed 5 US soldiers sustained injuries during an operation against ISIS terrorists in Nangarhar province.
The officials further added that the US soldiers were wounded during a joint operation with the Afghan special forces.
The Afghan commandos launched a major operation against the loyalists of the terror group in Nangarhar nearly two weeks and cleared the restive Kot district from the presence of ISIS militants.
The operations were launched amid concerns that the terror group is attempting to expand insurgency activities in the country.
The group claimed responsibility behind a deadly bombing in Kabul that left at least 80 people dead and over 200 others wounded.


text:
Income Insiders
Make Money in 2015
You are here: Home / Joni Up Close / The Song That Radio Stations Are Banning
The Song That Radio Stations Are Banning
August 5, 2011 By Joni 9 Comments
Hey Income Insider's readers…I have a little radically debated song I'd like to pass on to everyone.
I feel this song depicts the true American way, not what we've been viewing from our TV's lately, (referring to our government living in their own flippin dysfunctional world.)
Those in Washington are a million miles away from the American people in which they supposedly have taken an oath to protect, serve and uphold our values and morals on our behalf.
They have no clue on what we stand for and what we want.
Seems to me they cater to the 0.0001% of those who get offended if the frickin wind blows…
So this brings me here…and it has nothing to do with your political party of choice. It does have everything to do with you being a true – hot blooded American.
Slowly but surely, the new "politically correct" agenda includes taking "God" out of America… anywhere they can find him; In schools, The Pledge of Allegiance, Christmas, Easter…and the disturbing, bullshit list only gets longer everyday.
It's pathetic and makes me sick…
Our government thinks things are tough now…just wait. When "God" is no longer involved, it will utterly be hell on earth…unrecognizable.
Well let me get to the point of this post. This is why I'm so damn mad. They just keep putting their hands in where they don't belong…
The country band "Diamond Rio" held a concert in Las Vegas, Nevada.
They received an immediate – resounding – standing ovation, and continue to every time they perform it!
Sadly and completely frustrating, major radio stations wouldn't play it because it was considered to be "politically incorrect."
Consequently, the song was never released to the public.
So I'm here to pass this song on for all the Americans who choose to listen to it and stand by our morals – values and "God" which the United States of America was founded on.
We can all do our part to keep the truth alive…
The pictures in the video are beautiful in themselves. You then put the words and music to it and it's America all the way!
Our time is past due of sitting down and shutting up just because they think we're too stupid to take a stand on something we all believe in…
So here's a way to get your hand into what you hold so dear and believe to be true;
If you still trust in God and love America, Tweet this, Google +1 this, Like this, Share this, Facebook this and send it to your friends and family.
Just because we can't hear it on the radio doesn't mean we as Americans, the most giving – exceptional – beautiful beings we are, won't find another way to pass it on!
Peace be with all of you who have found your way here…and thanks Susan for sharing this awesome Diamond Rio: In God We Still Trust video with me.
Watch and Listen to This Banned Diamond Rio Song Now
Sending the Wrong Email…Very Funny
When You're At a Low Point…
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JENNIFER MANETH says
I TRULY BELIEVE THAT PEOPLE NEED TO STOP BELIEVING THAT THE POLITICIANS ARE DOING DAMAGE TO OUR COUNTRY BY TRYING TO REMOVE "GOD" FROM OUR PAST, PRESENT, AND FUTURE.
THE ONLY WAY TO STOP THIS IS FOR THOSE WHO BELIEVE IN GOD, NEED TO RISE UP AND BE HIS DISCIPLES AND SHOW EACH OTHER AND THE GOVERNMENT THAT "WE THE PEOPLE" WANT "GOD" IN OUR COUNTRY OF "AMERICA" FOREVER. IN GOD I TRUST…….DO YOU. THEN PASS THIS ON TO ALL YOU KNOW.
Amen Jenifer!
about time.. says
Well its about time we take god out of america. Frankly, its long overdue. Were not living in the bronze age anymore and im tired of hearing about this fairytale bible nonsense whenever I turn my head.
Well, I'm sending a big-time set of prayers your way!
And have you ever read any of that so called "fairytale bible?"
Jerry W Hull says
I am sorry but I was under the impression that I lived in America where Freedom of Religion and Freedom of Speech existed. I am an amputeed disabled veteran and I thought I was defending these rights when I chose to put on the uniform of the country that I dearly love. I find it amazing that one or two can dictate to the rest of the country what we can do or not do. Is this the way our founding fathers wanted our country to go?
First off , a BIG thank you for defending our country and yes, you were also defending
these rights for the majority of Americans…
I'm with you on how one or two can dictate to the rest of us what we can and cannot do…it's pathetic.
Always remember Jerry that what you did for us will forever be remembered. That's why I had to make this post.
For us, the ones who were not in battle like you, we need to start sacrificing and fighting in a smaller but just as
effective way…
Thanks for sharing your insight on this. So many people seem to have to be reminded of the freedoms we
have because of you. I for one thank you from the bottom of my heart.
God bless you and your family always and if there is anything I could ever do for you, consider it done.
Again, thank you so much!
Eunelfa Regie says
Thank you for that big concerns on the issues. I do and am affected with what happen to some of the songs. We need to be more responsible in making new songs that would not affect the sights and views of people listening to it. Much more, it can affect the society like making a song that politicians are involved. God also should not be included on controversial issues so that no one would intrigue it. This issue is not new to us here in our place. That time when this is happening, rallies are on streets. Many are affected so why not make a song that is helpful in some other ways.
TERRI KASZYNSKI says
THEN YOU SHOULD BAN EVERY SONG EVER MADE. EACH SONG HAS A MEANING AND EMOTION TO GO WITH IT, RIGHT ON DOWN TO BABY LULLABYES. I'VE BEEN IN THE RADIO BUSINESS NOW FOR 20 PLUS YEARS AND HAVE HEARD THEM ALL. THE STATION I WORK FOR NOW HAS AND ALWAYS WILL PLAY SONGS LIKE DIAMOND RIOS'. WE TELL OUR DISGRUNTED LISTENERS, 'IF YOU DON'T LIKE IT, THEN TURN THE DIAL OR MOVE TO ANOTHER COUNTRY AND EXPERIENCE A DIFFERENT CULTURE!
First off i just think we need to put this in gods hands god states in the bible that in the the lasts days there will be wars and times of confusion THIS IS JUST TO LET US KNOW THAT WE ARE NOT IN HEAVEN YET. I RESOLVE TO GIVE GOD EVERYTHING I HAVE AND FOR THOSE WHO POSTED THAT WE SHOULD TAKE GOD OUT OF EVERYTHING MAY GOD HAVE MERCY ON YOUR SOUL!!!!!! I REBUKE THEE!! WHAT YOU FAIL TO REALIZE IS GOD IS OUR COMFORTOR AND IN SOME CASES OUR LAST HOPE CAUSE THIS WORLD THAT WE LIVE IN COULD CARE LESS ABOUT YOU
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text:
Сіроне () — муніципалітет в Італії, у регіоні Ломбардія,  провінція Лекко.

Сіроне розташоване на відстані близько 500 км на північний захід від Рима, 35 км на північ від Мілана, 12 км на південний захід від Лекко.

Населення —   (2014).
Щорічний фестиваль відбувається 4 листопада. Покровитель — San Carlo.

Демографія

Сусідні муніципалітети

 Барцаго
 Дольцаго
 Гарбаньяте-Монастеро
 Мольтено
 Оджоно

Див. також
 Список муніципалітетів провінції Лекко

Примітки

Муніципалітети провінції Лекко

redpajama_set_name: RedPajamaWikipedia


The NeMLA Women's and Gender Studies Caucus invites submissions for the "Best Essay in Women's and Gender Studies Award." The award is given for a paper presented at the previous two sessions of the NeMLA Convention using women and/or gender-centered approaches. This essay may not be submitted to another contest for the duration of the award's deliberation. Essays must be submitted in English.
Send entries to the President of the NeMLA Women's and Gender Studies Caucus at wgsnemla@gmail.com by November 15 with "NeMLA WGSC Essay Award Submission" in the subject line.
Decisions will be communicated to submitters in winter.
Submitted essays must be between 7,000 and 9,000 words. There is a 10,000-word limit, notes and works cited included.


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The V-Class – and particularly the range-topping V 250 BlueTEC 4MATIC model – redefines the meaning of MPV: it combines a space concept for up to eight persons and exemplary functionality with the typical strengths of Mercedes-Benz – from the feeling of quality to comfort, from efficient driving pleasure to safety.
High-quality materials, a stylish colour scheme, extremely fine attention to detail and a design idiom that is both progressive and sensuous convey a perceived quality that stands out within the segment. The feel-good atmosphere is complemented with the lowest noise level in the segment.


The Builder's Profile online pre-qualification data exchange service gives EVERY company operating in the UK construction industry the opportunity to join the industry-wide reduction of PQQ costs and inefficiency.
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text:
@implementation RecordViewController

//------------------------------------------------------------------------------
#pragma mark - Customize the Audio Plot
//------------------------------------------------------------------------------

- (void)awakeFromNib
{

    //
    // Customizing the audio plot that'll show the current microphone input/recording
    //
    self.recordingAudioPlot.backgroundColor = [NSColor colorWithRed: 0.984 green: 0.71 blue: 0.365 alpha: 1];
    self.recordingAudioPlot.color           = [NSColor colorWithRed:1.0 green:1.0 blue:1.0 alpha:1.0];
    self.recordingAudioPlot.plotType        = EZPlotTypeRolling;
    self.recordingAudioPlot.shouldFill      = YES;
    self.recordingAudioPlot.shouldMirror    = YES;

    //
    // Customizing the audio plot that'll show the playback
    //
    self.playingAudioPlot.color = [NSColor whiteColor];
    self.playingAudioPlot.plotType = EZPlotTypeRolling;
    self.playingAudioPlot.shouldFill = YES;
    self.playingAudioPlot.shouldMirror = YES;
    self.playingAudioPlot.gain = 2.5f;

    // Create an instance of the microphone and tell it to use this view controller instance as the delegate
    self.microphone = [EZMicrophone microphoneWithDelegate:self];
    self.player = [EZAudioPlayer audioPlayerWithDelegate:self];

    //
    // Initialize UI components
    //
    [self setTitle:@"Microphone On" forButton:self.microphoneSwitch];
    [self setTitle:@"Not Recording" forButton:self.recordSwitch];
    self.playingStateLabel.stringValue = @"Not Playing";
    self.playButton.enabled = NO;

    //
    // Setup notifications
    //
    [self setupNotifications];

    //
    // Start the microphone
    //
    [self.microphone startFetchingAudio];
}

//------------------------------------------------------------------------------

- (void)setupNotifications
{
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(playerDidChangePlayState:)
                                                 name:EZAudioPlayerDidChangePlayStateNotification
                                               object:self.player];
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(playerDidReachEndOfFile:)
                                                 name:EZAudioPlayerDidReachEndOfFileNotification
                                               object:self.player];
}

//------------------------------------------------------------------------------
#pragma mark - Notifications
//------------------------------------------------------------------------------

- (void)playerDidChangePlayState:(NSNotification *)notification
{
    EZAudioPlayer *player = [notification object];
    BOOL isPlaying = [player isPlaying];
    if (isPlaying)
    {
        self.recorder.delegate = nil;
    }
    self.playingStateLabel.stringValue = isPlaying ? @"Playing" : @"Not Playing";
    self.playingAudioPlot.hidden = !isPlaying;
}

//------------------------------------------------------------------------------

- (void)playerDidReachEndOfFile:(NSNotification *)notification
{
    [self.playingAudioPlot clear];
}

//------------------------------------------------------------------------------
#pragma mark - Actions
//------------------------------------------------------------------------------

- (void)playFile:(id)sender
{
    //
    // Update microphone state
    //
    [self.microphone stopFetchingAudio];

    //
    // Update recording state
    //
    self.isRecording = NO;
    [self setTitle:@"Not Recording" forButton:self.recordSwitch];
    self.recordSwitch.state = NSOffState;

    //
    // Close the audio file
    //
    if (self.recorder)
    {
        [self.recorder closeAudioFile];
    }

    EZAudioFile *audioFile = [EZAudioFile audioFileWithURL:[NSURL fileURLWithPath:kAudioFilePath]];
    [self.player playAudioFile:audioFile];
}

//------------------------------------------------------------------------------

- (void)toggleMicrophone:(id)sender
{
    [self.player pause];

    NSInteger state = [(NSButton *)sender state];
    if (state == NSOffState)
    {
        [self.microphone stopFetchingAudio];
    }
    else
    {
        [self.microphone startFetchingAudio];
    }
}

//------------------------------------------------------------------------------

- (void)toggleRecording:(id)sender
{
    [self.player pause];

    NSInteger state = [(NSButton *)sender state];
    if (state == NSOnState)
    {
        //
        // Create the recorder
        //
        [self.microphone startFetchingAudio];
        self.recorder = [EZRecorder recorderWithURL:[NSURL fileURLWithPath:kAudioFilePath]
                                       clientFormat:[self.microphone audioStreamBasicDescription]
                                           fileType:EZRecorderFileTypeM4A
                                           delegate:self];
        self.playButton.enabled = YES;
    }
    self.isRecording = state;
    NSString *title = self.isRecording ? @"Recording" : @"Not Recording";
    [self setTitle:title forButton:self.recordSwitch];
}

//------------------------------------------------------------------------------
#pragma mark - EZMicrophoneDelegate
//------------------------------------------------------------------------------

- (void)microphone:(EZMicrophone *)microphone changedPlayingState:(BOOL)isPlaying
{
    self.microphoneSwitch.state = isPlaying;
    NSString *title = isPlaying ? @"Microphone On" : @"Microphone Off";
    [self setTitle:title forButton:self.microphoneSwitch];
}

//------------------------------------------------------------------------------

#warning Thread Safety
// Note that any callback that provides streamed audio data (like streaming microphone input) happens on a separate audio thread that should not be blocked. When we feed audio data into any of the UI components we need to explicity create a GCD block on the main thread to properly get the UI to work.
- (void)   microphone:(EZMicrophone *)microphone
     hasAudioReceived:(float **)buffer
       withBufferSize:(UInt32)bufferSize
 withNumberOfChannels:(UInt32)numberOfChannels
{
    // Getting audio data as an array of float buffer arrays. What does that mean? Because the audio is coming in as a stereo signal the data is split into a left and right channel. So buffer[0] corresponds to the float* data for the left channel while buffer[1] corresponds to the float* data for the right channel.

    // See the Thread Safety warning above, but in a nutshell these callbacks happen on a separate audio thread. We wrap any UI updating in a GCD block on the main thread to avoid blocking that audio flow.
    __weak typeof (self) weakSelf = self;
    dispatch_async(dispatch_get_main_queue(), ^{
        // All the audio plot needs is the buffer data (float*) and the size. Internally the audio plot will handle all the drawing related code, history management, and freeing its own resources. Hence, one badass line of code gets you a pretty plot :)
        [weakSelf.recordingAudioPlot updateBuffer:buffer[0]
                                   withBufferSize:bufferSize];
    });
}

//------------------------------------------------------------------------------

- (void)   microphone:(EZMicrophone *)microphone
        hasBufferList:(AudioBufferList *)bufferList
       withBufferSize:(UInt32)bufferSize
 withNumberOfChannels:(UInt32)numberOfChannels
{
    // Getting audio data as a buffer list that can be directly fed into the EZRecorder. This is happening on the audio thread - any UI updating needs a GCD main queue block. This will keep appending data to the tail of the audio file.
    if (self.isRecording)
    {
        [self.recorder appendDataFromBufferList:bufferList
                                 withBufferSize:bufferSize];
    }
}

//------------------------------------------------------------------------------
#pragma mark - EZRecorderDelegate
//------------------------------------------------------------------------------

- (void)recorderDidClose:(EZRecorder *)recorder
{
    recorder.delegate = nil;
}

//------------------------------------------------------------------------------

- (void)recorderUpdatedCurrentTime:(EZRecorder *)recorder
{
    __weak typeof (self) weakSelf = self;
    NSString *formattedCurrentTime = [recorder formattedCurrentTime];
    dispatch_async(dispatch_get_main_queue(), ^{
        weakSelf.currentTimeLabel.stringValue = formattedCurrentTime;
    });
}

//------------------------------------------------------------------------------
#pragma mark - EZAudioPlayerDelegate
//------------------------------------------------------------------------------

- (void) audioPlayer:(EZAudioPlayer *)audioPlayer
         playedAudio:(float **)buffer
      withBufferSize:(UInt32)bufferSize
 withNumberOfChannels:(UInt32)numberOfChannels
          inAudioFile:(EZAudioFile *)audioFile
{
    __weak typeof (self) weakSelf = self;
    dispatch_async(dispatch_get_main_queue(), ^{
        [weakSelf.playingAudioPlot updateBuffer:buffer[0]
                                 withBufferSize:bufferSize];
    });
}

//------------------------------------------------------------------------------

- (void)audioPlayer:(EZAudioPlayer *)audioPlayer
    updatedPosition:(SInt64)framePosition
        inAudioFile:(EZAudioFile *)audioFile
{
    __weak typeof (self) weakSelf = self;
    dispatch_async(dispatch_get_main_queue(), ^{
        weakSelf.currentTimeLabel.stringValue = [audioPlayer formattedCurrentTime];
    });
}

//------------------------------------------------------------------------------
#pragma mark - Utility
//------------------------------------------------------------------------------

- (void)setTitle:(NSString *)title forButton:(NSButton *)button
{
    NSDictionary *attributes = @{ NSForegroundColorAttributeName : [NSColor whiteColor] };
    NSAttributedString *attributedTitle = [[NSAttributedString alloc] initWithString:title
                                                                          attributes:attributes];
    button.attributedTitle = attributedTitle;
    button.attributedAlternateTitle = attributedTitle;
}

@end


The Road to Avalon comes paved with handsome intentions.
2019 Toyota Avalon (l) and Avalon Hybrid (r) models.
Sales of large sedans have tanked in recent years, falling faster than other car segments as consumers beat feet to crossovers. Manufacturers such as Hyundai (Azera) have abandoned the segment while others, such as Ford (Taurus) and GM (Chevrolet Impala and Buick LaCrosse), may follow.
Toyota, fresh on the heels of an all-new midsize Camry sedan is staying with its Avalon entry and has, in fact, developed the next-generation model to roll out in the second quarter. Despite sales falling by a third last year, Toyota believes this American designed and built sedan has a following worth preserving.
At the 2018 North American International Auto Show (NAIAS) in Detroit, the 2019 Avalon made its debut. Based on the automaker's TNGA K Sedan Platform, representing a stretched variant of the Camry's architecture, is what supports the new model. The big sedan comes with a multi-link rear suspension and the brand's first adaptive variable suspension. Updated powertrains, the latest technologies and a standard driver-assist package are among the Avalon's chief highlights.
The Avalon's new look is stunning, offering a handsome, low-slung layout that runs contrary to the model's more pedestrian expression to date. It's a purposeful change, aligning with the language Toyota describes for its "mid premium" sedan — perhaps to position it better to take on the threatened LaCrosse.
Lexus styling cues, especially with the grille, is evident.
Notably, from front to back the Avalon looks very much like a Lexus, which has us wondering where the automaker will go with the similar ES sedan.
But Lexus is not the focal point of this story, Toyota is. And that has us digging for information that may perhaps shed some light on where this front-wheel drive only sedan is heading. Indeed, what still has us scratching our heads is why an all-wheel drive option isn't offered, as Ford and Buick supply.
The two powertrain choices offer a familiar displacement, but they reflect a generational shift too. As before, you'll find gas-powered and hybrid variants of the Avalon with a 3.5-liter V6 engine moving the standard sedan. Power routes to the front wheels by means of an 8-speed automatic transmission.
Toyota hasn't released performance numbers yet, but in the 2018 Camry, the V6 packs 301 horsepower and 267 pound-feet of torque. Thus, it seems reasonable to deduce the 2019 Avalon will deliver similar numbers.
The Avalon Hybrid continues with a 2.5-liter four-cylinder Atkinson-cycle engine. In the Camry Hybrid, it combines with the electric generator to deliver 208 total system horsepower. Here, the drivetrain utilizes a continuously variable automatic transmission.
The new Avalon is the most stylish one yet.
Beginning in 2019, the Avalon expands to four grades for the standard model and three for the hybrid. The all-new XSE kicks things off, followed by the Touring, XLE and Limited. The hybrid comes in XSE, XLE and Limited grades. Trim differentiation includes engineered wood on base models and real wood on the Limited. Aluminum pieces grace XSE and Touring models, while all models either have SofTex (imitation leather) or real leather seats. Color choices and quilting set apart the top trims from the rest.
Premium tech features grace the 2019 Avalon. Toyota's Entune 3.0 telematics system represents next-generation connectivity by means of Bluetooth hands-free calling, music streaming and Siri Eyes Free. Integrated navigation with maps, traffic reports, fuel price comparison and other apps extends its usefulness. HD Radio, satellite radio and Scout GPS are part of the JBL audio system with eight, 12 or 14 speakers, depending on the trim.
The Avalon is available in four trims; three for the hybrid.
All models receive Toyota's 9-inch capacitive touchscreen center console display where pinched and flicked commands control the screen, just as you do on your smartphone or other personal devices. Toyota says the system operates faster than the outgoing arrangement with improved voice recognition.
One sore point with Toyota products in recent years has been smartphone connectivity. This year, Toyota begins to rectify the problem by adding Apple CarPlay, but not Android Auto. Toyota must have found a way to protect propriety information from Apple, but not Android. At least for now.
Under the Toyota Safety Sense P (TSS-P) umbrella, Toyota bundles a suite of driver-assist safety technologies. TSS-P comes standard, allowing the Avalon to outperform its rivals. The package includes a pre-collision system with pedestrian detection, full-speed range dynamic radar cruise control, lane departure alert with steering assist and automatic high beams. But that's not all! You'll also find blind spot monitoring with rear cross-traffic alert and a back guide monitor. Separately, Toyota also offers a panoramic view monitor and what the automaker calls "intelligence clearance sonar," which includes a rear cross traffic braking system.
You have a choice of imitation or real leather seats in the Avalon.
Most 2019 Avalon models have a three-mode drive select diet — Eco, Sport and Normal. Touring models come with Eco, Normal, Sport/Sport+ and Custom modes. The all-new adaptive variable suspension system, exclusive to the Touring edition, brings in real-time damping control for improved controllability and sharp handling. The system controls shock responsiveness at the corners, detecting sudden changes in vehicle movement and road conditions to ensure a smooth ride.
With a thorough overhaul of its flagship sedan, Toyota serves notice that it hasn't abandoned the segment. Indeed, Toyota may be gauging a gradual shift in consumer sentiment away from crossovers and back toward cars. Even if consumer tastes do not shift, the automaker remains poised to capture customers left hanging by competitors who exit the market. In this case, the pie may yet shrink, but Toyota's slice stands to widen.
Quad tips, anyone? Avalon Touring edition.
Photos copyright Toyota Motors. All rights reserved.


text:
By Roy and Chris, picture Roy and Skip
This is the second time I have attended this ride out, and I also meet up with other members of Tri-Anglia Wheels Sidecar Club who have a camping weekend using the campsite next door to the Lincolnshire Aviation Heritage Centre as a base for their Bank Holiday weekend rally. I day-visited on Saturday. Last year the weather was really hot; this year was quite different – the weather was dull, and, to make matters, worse it was quite windy. Luckily the club had a decent-sized tent as a club house, and this proved to be a blessing as it was fairly warm in there. I was told that there was a heavy frost on the Friday night. Luckily the local public house is only a short walk away!
This ride out is organised by the Skellingthorpe and District Motorcycle Club and they have been doing this for the last 8 years, and this year it was held on Saturday May 2nd. The event starts and finishes at the Heritage Centre, at East Kirkby, not that far from Boston in Lincolnshire.
The Heritage Centre is home to "Just Jane" – a real Avro Lancaster aeroplane operating on an orginal Lancaster airfield used during the Second World War. Hopefully "Jane" will return to the skies sometime in the future. The WW2 Aircraft Museum is open to all riders taking part on the run.
Talking to a member of the organising bike club, she felt that over 500 motorcycles were taking part today. The club had two booking-in sections, one for those who had pre-booked, and the other for those turning up on the day. The club was kept pretty busy, with bikes of all ages turning up. A couple of riders on Velocettes arrived and booked in; one of the riders – a lady – restarted her Velo with ease. The other rider suffered a bit from comments like if he could not start his bike then the young lady could do it for him!!
This is a well organised event. The first group of machines started the run at 10.45 am, for an exhilarating 40 mile ride out through the Wolds; the rest of the riders followed at set intervals. Eleven o'clock saw the Lancaster being fired up for the first of her three taxi runs that day. This was preceded by a warning that when she turns around away from the crowd, the wind from the propellers sweeps the ground clear, so you had to watch out for the dust being blown your way; last year several spectators lost their hats in the breeze!
This year the weather was dull, with the occasional burst of sunshine, albeit with a steady breeze blowing, and this kept things decidedly chilly. Some members of Tri-Anglia Wheels were wearing several jackets to keep warm, as did most of the stall holders.
Fortunately the wind kept the rain away. This was lucky because the Large Model Flying Club had their planes in the air most of the day, giving a great flying display. Then, to add to all the goings on, our local, air ambulance flew in did a display and then touched down for a couple of hours. People were able to inspect the chopper and talk to the crew.
The early riders were starting to return to the airfield, and were shown back to their places by the marshals, who did a great job keeping everything running smoothly.
Several machines stood out to me. One was an old Norton that the rider left ticking over while he put it up on the rear stand; the tick over was perfect. He then climbed back on the bike, selected a gear, and stopped the engine by pressing the back brake. One BSA 4-cylinder lookalike was admired by several riders; they felt that it had been very well done. I spotted an AJW Fox motorcycle; this was in nice condition. The silencer was a bit different to the norm. Many years ago I was lucky enough to talk to the manufacturer's son at a bike show.
Skellingthorpe and District Motorcycle Club are kindly donating the proceeds of the day to the Lincolnshire and Nottinghamshire Air Ambulance Charity.
This is a well organised ride out, at a nice venue, with plenty to look at and ample catering facilities.
For more details of the Aviation Heritage Centre see: www.lincsaviation.co.uk
Please note that the Heritage Centre is SHUT on Sundays.


text:
Amazon S3 Website Configuration Routing Rules Routing Rule Condition Property
=============================================================================

The `RoutingRuleCondition` property is an embedded property of the [Amazon S3 Website Configuration Routing Rules Property](aws-properties-s3-websiteconfiguration-routingrules.html "Amazon S3 Website Configuration Routing Rules Property") that describes a condition that must be met for a redirect to apply.

Syntax
------

``` {.programlisting}
      "RoutingRuleCondition" : {
   "HttpErrorCodeReturnedEquals" : String,
   "KeyPrefixEquals" : String
}

```

Properties
----------

 `                                HttpErrorCodeReturnedEquals                            `
Applies this redirect if the error code equals this value in the event of an error.

*Required*: Conditional. You must specify at least one condition property.

*Type*: String

 `                                KeyPrefixEquals                            `
The object key name prefix when the redirect is applied. For example, to redirect requests for `ExamplePage.html`, set the key prefix to `ExamplePage.html`. To redirect request for all pages with the prefix `docs/`, set the key prefix to `docs/`, which identifies all objects in the `docs/` folder.

*Required*: Conditional. You must at least one condition property.

*Type*: String


text:
The Paris Hilton Interview!
by Michael Musto
Symbol of socialitism Jordan Hollender
We need Paris Hilton more than ever. A seemingly placid slate on which to project our hopes and dreams, she's become the Mickey Mouse for the new depression.
As Cintra Wilson describes it in her book Caligula for President, the Teflon heiress is "a Warholian genius of media manipulation," not to mention "a strobe light in an epilepsy ward."
What's more, she's the only person with a sex tape and a Chihuahua to ever play a significant role in a presidential campaign. And now, she's survived a couple of cinematic mishaps and returned to the screen in a movie that's intentionally grim (and not the total clunker I'd pegged it to be).
It's the Darren Lynn Bousman–directed Repo! The Genetic Opera, which seems hell-bent on cultdom with its body-fluid-laden futuristic plot, its ersatz opera and woozy rock, and its emphatic good/badness, all served with a full-throttle lack of apology. Paris has a small role as the surgically addled, painkiller-addicted Amber Sweet, and you can't really say she disgraces herself. So, even though there's a whole new regime coming to the White House, the view from the Hollywood hills looks exactly the same, as Paris remains in power, traversing various media with a shocking unflappability that dares you to look away.
I met the very social socialite at a Waldorf suite last week, where she amusingly wafted in wearing her designer dress backwards by mistake! I thought she should leave it on and start a whole new fashion phenom, but she dutifully reversed it and we proceeded to gab into the future. And so:
Me: Hi, Paris. You're very brave to have done a genetic opera. What was it like to have your face falling off? That's so not like you.
Paris: It was very uncomfortable, with different prosthetics every day. I looked like Freddy Krueger. I could not even look in the mirror, it was so gross. But it was also really cool to do something completely different than what I'm usually typecast as. This was not another typical blonde. Plus it was a musical.
Me: After this, there can never be a photo of you that anyone considers bad.
Paris: Yeah, when your face falls off in a movie, you can pretty much do anything after that!
Me: At least your head didn't fall off, like in House of Wax. But I wanted much more of you (though I loved you singing "I've never been so surgically maimed"). Was anything cut, as it were?
Paris: Darren had to cut so much because the movie was four hours long. There was this cool song, "Come Up and Try My New Parts." In the song, I'm talking to the grave-robber, and I want some of his Zydrate, which is a futuristic drug. I was offering favors for it. It'll be on the DVD.
Me: That'll be my futuristic drug. Did [co-star] Sarah Brightman give you any vocal tips? She hits notes only Mariah Carey can hear.
Paris: On our press day, people asked her, "Did you give Paris advice?" And she said, "Paris knows exactly what she's doing!" I love her. She's such an icon.
Me: She's the world's best-selling soprano. But haven't there been some missteps along the way? Are you upset that The Hottie and the Nottie, um, didn't find an audience?
Paris: I think it did. It's doing really well on DVD. I think people are so used to seeing me as me that they can see me on TV any day like that. But in Repo, they're gonna see something that doesn't even look like me. It already has signs of a cult classic.
Me: And so does your Funny or Die video! I loved how you replied to "the wrinkly, white-haired guy" by suggesting your own energy policy and your proud choice of running mate (Rihanna) en route to painting the White House pink. That video cemented your role as a player in the election. How did you feel when McCain first invoked your name?
Paris: I thought it was a little bit silly. People are donating money to his campaign, and then he does such a silly comparison with Britney and I.
Me: It was absurd—though I hear Obama is doing a reality show where he's looking for a BFF.
Paris: That's funny.
Me: So, you were pro-Obama?
Paris: I don't say who I vote for.
Me: I do. He's super-sexy.
Paris: Yeah, he's good-looking, and he's inspiring people.
Me: But what a country he's inheriting! Has the economy's free fall affected you?
Paris: Not at all. The business I'm in is not affected by it.
Me: Huh? But I'm in the same business, and I'm wearing K-Mart shoes. You have no money in stocks?
Paris: Yes, but they're in good stocks.
Me: Tell me what they are!
(Silence.)
Me: Moving on. For your now-legendary post-stripes appearance on Larry King Live, did your team advise you on how to come across? It was make-or-break.
Paris: Yeah. I was really nervous because it was the first time I had talked to anyone.
Me: But you still meant all that stuff you said about dramatically changing your persona?
Paris: Yeah.
Me: Now that you've had a ton of time to think about what your favorite part of the Bible is, what's your real answer?
Paris: I don't really have a favorite part.
Me: What? So it's the same answer?
Paris: I like it all. It's not like I have a favorite part.
Me: Me neither. I've never read it!
(More silence.)
Me: But you have changed a lot since then, no?
Paris: I've grown up a lot, and I have a great relationship [with rocker Benji Madden]. I was living like I was still a teenager. Now I realize I have a lot of responsibilities on my plate, and I'm running a huge empire. I don't go out as much anymore. I've been to so many parties for so many years, it gets really old.
Me: You're telling me? At least sometimes I can stay home and watch your reality show. It seems a bit scripted, though.
Paris: Just the parts when I'm on my throne, but everything else is real. I'm really friends with the girls—they text me every day. There are offers to do spin-offs of the show in Australia, Germany, Dubai, Russia . . .
Me: Woo-hoo! You have such a gift for media—I don't want to say "manipulation."
Paris: I just do things that interest me and live life to the fullest. I don't do it for any other reason.
Me: But come on, your unstoppable fame didn't just happen. You're behind it all—it's not just magic.
Paris: Like which part?
Me: The part where you glide through a million different projects and never destruct. You're a Warholian, etc., etc.
Paris: I'm a businesswoman, I'm a brand, so everything I do is to escalate my brand and give it more exposure. If you want to be in this business, you have to be in the media.
Me: I've got chills. Got any Zydrate?
More:Cintra WilsonEmperor CaligulaMichael MustoNightlifeParis HiltonThe White House


text:
Search Travel News Asia for: Madrid
Your search for Madrid found the following documents (of 52086 documents searched):
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Four Seasons Resort Chiang Mai to Host Charity Concert on 23 January 2010. M.L. Usni Pramoj, Privy Councillor and accomplished musician will be playing the viola accompanied by Khun Tasana Nagavajara (violin), Khun Kittikhun Sodprasert (violoncello) and Khun Siripong Tiptan (viola) and Khun Omporn Kowintha (violin) and perform Opus 87 by Felix Mendelssohn Bartholdy and his own comp
154. Hotel Representation Australia signs La Flora Patong
Hotel Representation Australia signs La Flora Patong. Hotel Representation Australia (HRA) has signed La Flora Resort Patong, one of the only luxury boutique resorts in the central Patong Beach area of Phuket that offers pool villas.
155. IMPACT Exhibition and Convention Center in Thailand Enjoys Positive Growth
IMPACT Exhibition and Convention Center in Thailand Enjoys Positive Growth. IMPACT Exhibition and Convention Center, Muang Thong Thani (Thailand), has reported that advance bookings for event spaces in 2010 already amount to 40% of the total spaces available.
156. Dubai to Open New Cruise Terminal in February 2010
Dubai to Open New Cruise Terminal in February 2010. The façade of the New Cruise Terminal building is based upon Dubai's contemporary Arabic design. The main purpose is to reflect Dubai's rich heritage as a maritime center, present a strong positive image of Emirati hospitality, and to express the importance of Dubai as an international tourist destination. Special attention has be
157. Wings Air Takes Delivery of First ATR 72-500s in Indonesia
Wings Air Takes Delivery of First ATR 72-500s in Indonesia. ATR Regional Aircraft and Indonesia's Wings Air - a regional subsidiary of the nation's largest private carrier Lion Air - has celebrated the introduction of the first three ATR 72-500s to the fast-growing Indonesian market. The delivery of these aircraft follows the signing last year of a contract for the purchase of 15 A
158. Hyatt Signs Three New Hotels in China
Hyatt Signs Three New Hotels in China. Hyatt and Suning Real Estate Development have signed agreements for Hyatt subsidiaries to provide management services to three hotels in the vibrant hubs of China's Jiangsu province. Grand Hyatt Nanjing is currently slated to open in 2013 and Hyatt Regency Wuxi and Hyatt Regency Xuzhou are projected to debut in 2012.
159. Qatar Airways Unveils Plans to Expand Network
Qatar Airways has unveiled plans to begin a phased approach to expanding its network. While the situation remains extremely dynamic, Qatar Airways expects short haul travel to rebound first, with business between large global cities picking up more gradually.
160. IHG Signs 54 Hotels in Europe
InterContinental Hotels Group has reported another successful period for hotel signings, adding a further 54 hotels to its European pipeline in the year from June 2010 to May 2011. The 7,874 rooms are spread across the UK, Germany, France, Italy, Spain, Portugal, Russia, Turkey, the Netherlands, and Switzerland.
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Report by the Director for Planning & Place (PN7).
This application is for the extraction of 2.5 million tonnes of sand and gravel at a new quarry between Cholsey and Wallingford in South Oxfordshire. The land would be restored to agriculture using imported inert infill material. The development would take 18 years to complete extraction and a further two years to complete restoration. A new plant site and access onto the A4130 is proposed.
The application site is currently an open field in agricultural use.
The application is being reported to committee because it is accompanied by an Environmental Statement and because objections have been received from the local Parish, Town and District Councils.
South Oxfordshire District Council have objected on the grounds of prematurity. Concerns raised by the Parish and Town Councils include lack of need for the mineral, working method, potential flooding and impacts on landscape, traffic and amenity. There is also an objection from the Chilterns Conservation Board.
The report outlines the relevant planning policies along with the comments and recommendation of the Director for Planning and Place.
The development accords with the Development Plan as a whole and with individual policies within it, as well as with the NPPF. It is considered to be sustainable development in terms of environmental, social and economic terms. The proposed development would beneficial in terms of contributing towards Oxfordshire's supply of sharp sand and gravel and providing a high quality restoration. It is considered that potential impacts can be adequately addressed through planning condition and legal agreement.
(iii) that the Director for Planning and Place be authorised to refuse the application if the legal agreement referred to in (i) above is not completed within 10 weeks of the date of this meeting on the grounds that it would not comply with OMWCS policy M10 and the guidance set out in paragraph 118 of the NPPF in that there would not be satisfactory provisions for the long term management of the restored site.
application no. MW.0094/16 be approved subject to conditions to be determined by the Director for Planning and Place to include the matters set out in Annex 1 to this report.
The Committee considered (PN7) an application for the extraction of 2.5 million tonnes (MT) of sand and gravel at New Barn Farm, Cholsey, Wallingford, Oxfordshire.
Councillor John Sanders – The numbered phases indicated the order of development and restoration. Section 1 was chosen to be developed and restored first as it was closest to the housing.
Councillor Mrs Anda Fitzgerald O'Connor – All vehicles leaving the site would turn left, then use the roundabout if they wanted to go right.
Henry Thornton, speaking as a local businessman spoke against the application that he felt would harm Oxfordshire. The application was in the wrong location close to AONBs and popular amenities and close to a care home, medical centre, a hospital and two schools. He commented that the report was all about damage limitation and highlighted the huge amount of opposition to the proposal. It had been removed from Part 1 of the Core Strategy and this was an attempt to reintroduce what was already rejected. He commented that there was a sufficient supply of sand and gravel and this application was premature. Work should be completed on Part 2 of the Core Strategy on site allocations.
Wallingford Town Councillor Adrian Lloyd, speaking on behalf of Wallingford Town Council stated that they had consistently opposed the application. He commented that the report did not make clear that the public right of way was the Agatha Christie Trail which 1000's walked each year. He argued that the applicants had been wrong to use wind information from RAF Benson and that Cholsey Hill was a closer meteorological site. Data from 2012 was publicly available and using this data the noise would carry into the new housing site.
Councillor Matelot – He had a technical background having worked in wind farms and his opinion was based on experience.
Councillor Judy Roberts – He confirmed that in his opinion the wrong wind direction information had been used so the information regarding noise was incorrect.
Councillor Howson – He confirmed that for part of the local area, including the community hospital, nursing home and nursery school the information was correct. With regard to dust Wallingford Town Councillor Lloyd commented that the houses were not on the same level and that smaller particles would travel further. He felt that it was likely that dust would travel into the affordable housing areas affecting families and young children. He noted that the site would work on Saturday mornings meaning the noise nuisance would continue at a time when many people would be hoping for a lie in after the working week.
The Committee then heard from the applicant, Andrew Short, Grundons, explained the context of their interest in the site and advised that changes to the proposal had been made following consultation and exhibition. They had worked with the Council and the report and officer conclusions supported their application. He addressed the question of prematurity which had been carefully considered by officers (paragraph 67). The application was in line with the recently adopted core strategy that provided for local building materials for local development.
Peter Wilsdon, agent to the applicant, believed that all consultees had agreed that with the proposed mitigation there was no adverse impact. He outlined the proposed mitigations including, dewatering, a traffic routeing agreement and progressive restoration that reduced the overall impact. The application was the most sustainable opportunity to provide a local supply of sand and gravel.
Councillor Judy Roberts and Councillor John Howson – Peter Wilsden explained the phasing of works on the site and the use of a conveyor system.
Councillor Alan Thompson – The route to be used was an advisory lorry route with satisfactory junctions. The highways authority had no objections.
Councillor Lynda Atkins, local councillor for Wallingford, spoke against the application expressing particular concerns for residents living adjacent to area 17 and 18. Area 18 contained the plant and there was a gap in the noise protection to allow access to the site. Area 17 was one of the last areas to be worked and was immediately adjacent to the new housing which was closer than existing buildings and which needed an equivalent barrier. She was concerned at the impact on residents of Saturday working and expressed concern at the impact on the heritage railway of having a bund along half of its length. Councillor Atkins responding to a question from Councillor Stratford commented that she felt it perfectly possible that the new housing would be built and sold quickly.
Councillor Mark Gray, local councillor for Benson & Cholsey highlighted the amenity impact of the application. In addition to 2 nursing homes there were 2 listed buildings nearby. Heritage assets were irreplaceable and impacts on them should be given considerable weight. Councillor Gray also argued that the local roads were not suitable for the traffic from the site. He also expressed concern that the inert waste for the restoration had not been identified and he feared that it would not happen. He suggested that the application was premature in predetermining where extraction should happen in advance of Part 2 of the Core Strategy.
Councillor Gray responding to a question from Councillor Howson explained that the quarry would destroy the setting of the Grade II listed building.
During discussion Mary Thompson responded to further questions confirming that the new housing had been taken into account when looking at environmental impacts; that the phasing allowed the central haul road to progressively shorten and speed restoration. Members expressed some concern over traffic along local roads and site access onto the main road.